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Secrets Revealed

N

Nelz

I'm interested to hear some of the processing secrets of some of the voiceover peeps on this site. In other words, what equipment are you using to get that professional "agency" type of sound? What settings work best for you? What plug-ins do you use regularly?

I use an MKH416 mic almost exclusively, routed through a dbx 286A (effects turned off). I add treatment such as bomb factory compression (approx. 2.1), with a smidge of high end boost to clean up the muddyness. That's it. I work for a group of radio stations, and their production equipment is pretty dismal (old RE20s through ancient boards with NO mic pres). Needless to say, my production, when I get a chance to voice from home, stands head and shoulders above everyone elses...at least from a sound standpoint.

I'd really like to hear from Jeff Laurence. His production is some of the best I've ever heard.

nelz
 
I'm curious about the muddiness you are experiencing. I also use a 416 but run mine through a John Hardy M1 in the studio. The 416 has a natural bump that starts around 5k Hz or so. So I almost never boost the high end, the exception being for some special effect. I do roll off the bass quite often usually starting around 90Hz to clean things up on the bottom but I wouldn't ever say it was muddy.
 
I think you'll find that there aren't a lot of secrets. Many people use no processing at all, even more use just a tiny bit. Very few create elaborate chains of gear, since there's no magic bullet. The mic, the preamp, the room and the voice make all the difference in the world. Most of the secrets I've learned have been that there are no magic processing tricks.

That being said, I use an Audio-Technica AT4040 (I will upgrade to a 416 when there are funds), into a Focusrite Voicemaster Pro. In the Focusrite, I roll off the lows at 65Hz, followed by a gentle expander, then compressor with a slow attack and low ratio...Just enough compression for a little control and punch. Follow that with an EQ boost at 10kHz and a slight cut at 135Hz (mud). Then I follow that with a DBX 266XL, which I'm using as a peak limiter to control the most offensive overshoots that result from my slow attack compression. It's a lot of stuff to chain together, but the result is fairly unprocessed sounding, since everything is set gently.

Emmett
 
Since I'm also trying to break into this side of our world (but who isn't these days), it's a double-edged sword being a Creative Producer Guy for years, working with the best v.o. talents in the biz.

A few notes:

If you have to OVERprocess your voice to get "that sound", you're no better than Dave Grohl doubling his vocals to hide the fact that he can't sing (his own admition).

If you think the voice guys come down the line sounding that good, you're gonna spend WAY too much time tweaking your system. They NEVER sound good-- personal opinion. From Corley to Stone to Lowe to Robinson, Caroli, H.Parker... I've never NOT had to tweak post-recording.

It's not so much in the microphone (don't read too much into that-- it DOES matter that you have a REAL mic, you just don't have to become a gearhead to find a good one)... as it is in knowing your "sweet spot" read. This is where I'm still struggling. It's hard to find THAT THING you do better than so many others.

Me... I'm going for ridiculously low prices. "Come to the v.o. Kmart!" Hell, I don't care. I just want to get out there and doing it!

By the way, a fancy-ass lil site won't hurt. You can get 'em cheap nowadays. A bit of photoshop, and next thing you know, you're rocking (example www.piercevoice.com -- NOT A PLUG!!!) Got mine from NetworkSolutions.com.

Hope something in this helps! Good LUCK!!!
 
I hear ya Chadd. I never thought my stuff was over processed, although that wasn't always the case. I'm learning to do more with less, if that makes sense.

Two things:
1. I read an interview with Don LaFontaine, where he stated that most people that meet him in person are generally disappointed that he doesn't sound like the movie trailers he voices.
2. Steve Zirnkilton (voice of Law and Order and other projects) explained to me in a phone conversation that I needed to find "THAT THING", as you so well put it, that makes me unique...professional...but unique.

Hey Brian Hart,

I'm still learning with the MKH416. It's a challenging mic to use. If you're off access just a bit, the change in sound is noticeable. It's even more challenging for me because I use a lot of hand and arm gestures. As George DelHoyo says..."I use a lot of gestures because I'm directing myself as a conductor directs an orchestra.

Hey Emmett,

I think you're right. There aren't a lot of secrets...which is a secret in itself.
 
Man, you aren't kidding. I like to wave my arms a lot too.
 
Emmett said:
with a slow attack and low ratio...Just enough compression for a little control and punch.

Emmett
Click to expand...

Would you be so kind to tell us exactly which attack time and ratio you use.....

To be honest, I'm strugling with my tracking compression in terms of finding right parameters and I could really use some helping hand here ....

thanks in advance
 
I would share my settings....Except that it won't help you at all. My voice isn't YOUR voice. To find what works for you, start flat. Get it to sound as close to the way you want it without touching your processor. Do this with breath control and mic placement and technique. Once it's as close as you can possibly get it, then determine what it is that you want to change. Make a list of the things you don't like about it so you can change only those things. Don't try to fix what isn't broken. Is it lacking punch? Definition? Fullness? Level control? Is there background noise? Learn everything you can about dynamics processing and how it works. Then tackle one problem at a time. Be very careful not to disturb anything that already sounds good. One at a time.


BTW, it's a 2:1 ratio with a 5ms attack and 0.17 S (roughly) release.

Emmett
 
Chadd..your stuff rocks! Nelz thanks for the compliment..I love the MKH416, but it IS unusual to use. If you are using the cheezy foam wind screen that came in the box, use it as an armpit sponge in the shower..It really holds soap! Get a solid round pop filter and do NOT let anything get in the way of the slotted holes in the sides of that mic. Then..make a note of where your "timbre" comes from..your resonance..You may find that it does not come from your pie-hole, but rather from your adams apple area..point the mic in that direction. Be sure your room is treated so that it is nicely dead..and speak not right into the front, but over the shot of the mic. Shotguns reach out and grab sound. They were designed for film location pickup and act as a "spot gathering" system..so as weird as it is to not speak directly into that mic..It will be able to grab your timbre, and reproduce it nicely..Something that the RE20s and SM7's of the world don't handle well at all. The best thing about that Sennheiser mic is the rejection of extranious noises..and it take processing very well..along with a wide range of levels of sound..you can whisper into it or do a tractor pull spot. It's a great universal mic. I have also liked the TLM49 a lot..especially for narration, and softer reads..but I have a new favorite. It is being loaned to me as a beta test. It's AMAZING..and I never would have thought..but WOW..I'll fill you in on that as soon as I get permission for the manufacturer. I am impressed, and amazed. More later.

As for processors..Emmett knows his stuff, and as little as we can use is always best..The people on the other end want to do to our stuff what THEY want, and to provide them with a clean flat, but punchy sound is all that is needed. As for my own produced stuff (that we do here and in Atlanta) I like the AirCorp model 500TV mic processor as a good overall and highly adjustable box..also a good preamp (we like the UREI M610's) makes a good solid combination. 2:1 is good, and a med-slow attack and medium-fast release time is my preference. Nelz I would love to hear some of your work. email me a track or two at [email protected]
 
Chadd,

Just noticed from your myspace page that you and I are in the same town. Let me know if you ever want to get together for lunch or whatever.
 
Ya know what would be great. We should plan a small circle of prod/voice people get together in a neutral city..featuring highly caloric meals, and some interesting client swapping stories..and for some, adult beverages and cigars..

Bet we could assemble about a dozen of us or so, and it would all be tax-deductable!

Best in the late fall, or winter..to avoid ratings sweeps, and holiday retail work.
 
I'm all for it. We did this last month with a small group from www.vo-bb.com. We met in Winston-Salem, had lunch, bowled, sat around and critiqued each others demos and talked shop. It was a very energizing experience.
 
I'd be WAAAAY to nervous about you guys critiquing my stuff, but the cigars & adult beverages
sounds like fun..

BTW I'm in Nashville
 
Brian Hart said:
I'm all for it. We did this last month with a small group from www.vo-bb.com. We met in Winston-Salem, had lunch, bowled, sat around and critiqued each others demos and talked shop. It was a very energizing experience.
Click to expand...


I miss Raleigh soooo much! Toledo ain't Raleigh, LOL!


My new love is the 416 to a ISA220 coupled with a Symetrix 528 (older one) for gating. Love the ISA! Has a limiter too, but I dont use it.

Jeff's right. 86 the foam screen for a pop filter. My mic points downward from an angle towards my throat. John Wells told me that trick.
 
I thought I'd chime in with a setup that seems to be quite a bit different than anything mentioned so far.

I am using the AKG C3000B microhone plugged directly in to the Panasonic DA7 Mk2 digital mixer. In the mixer, I do light compression and gating along with a few db of EQ sweetening...no more than 3.5 db at any frequency. Then that runs in to my PC via ADAT lightpipe to a RME Hamerfall card. Everything runs at 16-bit, 44.1 K. Once recorded using Saw Studio, I process the track with a db Audioware Limiter, a tad more EQ bumping up 90 Hz by about 3 db, 1K by about 2 db and 10K by about 3db. Sometimes I add a very small amount of a medium sized plate reverb to give it some "air".

I think I've put together a pretty decent sound that cuts thru on the air quite nicely. The beautiful thing about all processing (both on the mixer and in the computer) being digital is that the settings never change. I can pull up that REO Speedwagon concert spot I produced two years ago, revoice the new date and fly it in to the existing production with no tweaking at all. Back in the day of using the 528E, I was always fiddling with it to get "that same sound as last time". With other people using the production room, that 528E was always getting played with. Now I just call up my preset on the mixer, set the trim on the input for the C3000B and I'm off and running.

I just wanted to share since my setup seems so different than everyone else. I'm also open to any opinions or suggestions. My demo is here if you want to here examples of the setup:

Demodave's Demo
 
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